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BAHASA KOREOGRAFI
Lenggang Sebagai
Permulaan sebuah
Penelitian dan Praktek
oleh Soultari Amin Farid
Saya melihat peran saya sebagai provokator penting untuk terus
mengguncang kaidah-kaidah gender yang kaku yang telah
menghambat pemahaman inklusif terhadap bentuk-bentuk seni
yang mendukung pertunjukan dan pakaian lintas gender. Oleh
karena itu dengan adanya penggabungan bahan arsip dan
penyelidikan, adalah relevan bagi saya untuk terus bekerja dan
mengeksplorasi batas-batas yang membatasi apresiasi kita untuk
gagasan-gagasan alternatif dan cara kerja yang “berbeda”.
Sumber/Referensi
Hamzah, Daud. “Chara Menari Ronggeng dan Mak Inang [Ways to Dance the
Ronggeng and Mak Inang]”, Penerbitan Federal, 1965.
Mohd Farid, Muhd Noramin. “Serampang Dua Belas: Discourses of Identity in the
Contemporary Practice of a Malay Courtship Dance in Sumatra.” Master Thesis,
Roehampton University, 2016.
Mohd Farid, Muhd Noramin. “Tarian Melayu: Negotiating Social Memory and
Constructing a Community through the Nation-State of Singapore.” PhD Thesis,
Royal Holloway, University of London, Forthcoming.
Mohd Nor, Mohd Anis. “Lenggang dan liuk dalam tari pergaulan Melayu.” Tirai
Panggung, vol. 1, 1993.
Sunardi, Christina. “Stunning Males and Powerful Females: Gender and Tradition
in East Javanese Dance.” U of Illinois P, 2015.
About
Soultari
Amin Farid
Soultari Amin Farid is a choreographer, arts educator
and researcher from Singapore. He is currently based in
London where he is a PhD candidate in Theatre, Drama
and Dance studies at the prestigious Royal Holloway,
University of London, UK. His recent choreographic
credits in UK & Europe include: Bhumi (Edinburgh
Fringe Festival, UK); (Mis)fits (Footprints Festival, UK);
Maa, What If… : The Mother in Tagore’s Poems
(Commissioned by Mora Ferenc Muzeum, Hungary)
and Unity in Diversity (University of Szeged, Hungary).
Some of his notable works as Artistic Director in
Singapore include:Touch: Identite (Collaboration with
Sonic Artist, James Lye, and Hip Hop Artist, Fasihah);
Mother Earth: Diminishing (Commissioned by Temasek
Arts Centre, Temasek Polytechnic); GAIA: Pudar
(Supported by Malay Heritage Foundation & the Malay
Heritage Centre); and Padi Kuning [Yellow Paddy]
(Supported by National Arts Council Polytechnic
Initiative). Amin’s academic investigations into
postcolonial theory and anthropology provides the
impetus for him to produce artistic works which
constantly questions and challenge the normative
notions of class, ethnicity, identity and gender. Amin
believes that young arts practitioners must take
ownership of their cultural traditions but must also
become leaders in creating artistic works that are
innovative and relevant to an evolving landscape.
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